Symphony Preview: The concerts of Christmas present

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The St. Louis Symphony Orchestra will be delivering Christmas presents for St. Louis audiences throughout the month of December. Let's sneak downstairs and take a peek under the wrapping, shall we?

The Flying Wallendas
circusflora.org

December 12-14: A Winter Fable with Circus Flora - Music has always been a part of the Circus Flora experience, so the partnership with the symphony isn’t as unusual as it might seem. This is, in fact, the orchestra's fourth team-up with our much-loved local circus; the last one was "A Child's Christmas in Wales" two years ago.

As always, the combination of music and circus acts has a story line to hold everything together. This time it's a fairy tale "set in the High Tatras mountains, in the ancient and beautiful Kingdom of the Spiís." There's a magic spell, a princess and (because it's a circus) a horse, along with trained dogs. The Flying Wallendas will be on hand with their legendary high-wire act, along with the popular St. Louis Arches and, of course Theatre Director Cecil MacKinnon as Yo-Yo, the Narrator.

Symphony Resident Conductor Steven Jarvi leads the orchestra in a program with a heavy Eastern European and Russian flavor. Dvořák is heavily favored, along with Bartók, Glinka, Janáček, Ippolitov-Ivanov and that other hyphenated Russian, Rimsky-Korsakov. There are also some Brahms "Hungarian Dances," along with Berlioz's "Hungarian March" from "The Damnation of Faust."

Kevin McBeth
stlsymphony.org

December 18: Kevin McBeth leads the IN UNISON® Chorus in "A Gospel Christmas" – Best-selling singer/songwriter Oleta Adams and her band are the guest soloists in a program that features many of her original compositions along with Gospel favorites and popular Christmas tunes. There's even a soulful version of the "Hallelujah Chorus" from "Handel's Messiah: a Soulful Celebration" by Paul David Wilson.

Celebrating its 20th season with the SLSO, the IN UNISON® Chorus is "an all-volunteer, 120-voice auditioned ensemble that performs a variety of musical styles, with a focus on the interpretation, performance, and preservation of the music of African-American and African cultures." Kevin McBeth, who became director of the chorus in 2011, is Director of Music at Manchester United Methodist Church and serves as full-time administrator for the Music Ministry, which includes 18 choral and handbell ensembles, involving nearly 500 youngsters and adults.  NOTE: as of Friday, December 12, this concert is sold out, but standing room tickets are still available.

December 19-21: The Macy's Holiday Celebration – Steven Jarvi conducts the orchestra and Holiday Festival Chorus (consisting of students from local schools and colleges conducted by Kevin McBeth) in a program of traditional carols and seasonal pop songs. Featured soloists are musical theater star Chelsea Packard and local television personality Charles Brennan, who will narrate Randol Alan Bass's musical setting of "The Night Before Christmas."

There's also a "Holiday Sing-Along", music from the films "Polar Express" and "It's A Wonderful Life," and the annual "surprise" visit from Santa (usually played by the ever-charming Whit Richert). "Pops" events like this are usually big moneymakers for the orchestra and great fun as well. Only a dedicated Scrooge could complain.

The Bach Society at Powell Hall
bachsociety.ort

December 23: The Bach Society Christmas Candlelight Concert – A. Dennis Sparger conducts the Bach Society Chorus along with members of the SLSO, the St. Louis Children's Choirs, and soloists Jane Jennings (soprano), Debra Hillabrand (mezzo), and Don Frazure (tenor).This is usually a more classically-oriented program, although favorite carols and an audience sing-along are included as well.

The "candlelight" refers to the opening of the second half of the concert. The lights dim, and the members of the Bach Society walk down the aisles singing, each with an electric candle. If you're lucky enough to be sitting downstairs in the orchestra section, you find yourself surrounded by singers - some carrying the melody, some harmony, enveloping you in a constantly changing kaleidoscope of sound. Charles Ives would have loved it. It's a St. Louis tradition and every music lover should get to experience it at least once.

This isn't an SLSO event, but symphony musicians are involved and it does take place in Powell Hall, so I figured it's fair game for this article.

There are other special concerts at Powell after Christmas. I'll give you a look at the in my next preview article.

Lyric Opera of Chicago does bel canto right in "Anna Bolena"

Photo: Robert Kusel
Courtesy of Lyric Opera

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In the 1830 tragedy "Anna Bolena" ("Anne Boleyn"), the second of Donizetti's four operas dealing with Tudor England and a classic of the bel canto operatic style, the composer and his librettist Felice Romani put the title character through hell—and aren't that much easier on the singer playing the role. She's on stage for most of the opera (which, in the Lyric Opera of Chicago production that opened this past weekend, runs three and one-half hours with intermission), finishing up with not one but two "mad" scenes and an execution scene that is almost as harrowing.

Not surprisingly, the role has become associated with some of the world's great singing actresses over the years, especially since the late Maria Callas caused such a sensation in a Lucino Visconti-directed production at La Scala in 1957. Other big names associated with the role are Renata Scotto and the great Joan Sutherland, who played the part in Lyric Opera's last presentation of "Anna Bolena" in 1985.

I don't think it's too much of an exaggeration to say that Lyric's current Anna, soprano Sondra Radvanovsky, should feel right at home in that pantheon, judging from her heroic performance on opening night. Expertly sung and superbly acted, her Anna moves easily through the wide dynamic and emotional range of this role. Like Callas, Ms. Radvanovsky is not afraid to sacrifice a little technical purity here and there if it enhances the drama. Which, on opening night, it always did.

Sondra Radvanovsky and
John Relyea
Photo: Todd Rosenberg
Courtesy of Lyric Opera

Nor is hers the only impressive portrayal here. She's evenly matched by bass John Relyea's vocally powerful and dramatically on-point Henry VIII. Granted, the role has less depth than that of Anne—he's pretty much a rotter through and through—but Mr. Relyea makes the most of it, demonstrating flashes of the charisma that helps to explain how Jane Seymour (beautifully sung by mezzo Jamie Barton) could fall for him.

The "pants" role of Smeton—the young page whose infatuation with Anne is manipulated by Henry to undo them both—may only be a supporting part, but mezzo Kelley O'Connor brings a depth and humanity to it that makes it truly stand out. There was no scene stealing involved here, mind you; just solid technique and theatrical smarts. And an impeccable "Ah, parea che per l'incanto" in Act I.

Tenor Bryan Hymel is a passionate Lord Percy and bass-baritone Richard Ollarsaba an appealing Lord Rochford. Tenor John Irvin rounds out the named roles and a chilling Lord Hervey, Henry's hatchet man.

Director Kevin Newbury is, perhaps, overly found of placing his principals in static poses and lighting them starkly from behind in primary colors, but on the whole the overall look of the production is striking. Neil Patel's set contributes substantially to that with its imposing Tudor ceiling from which walls and set pieces descend for the scene changes. The illusion of massive weight is convincing and reminds us of how these characters are, in some ways, imprisoned in the splendor of their surroundings. D. M. Wood's lighting design is dramatic, but there seemed to be technical issues with some of the instruments on opening night.

Sondra Radvanovsky and Kelley O'Connor
Photo: Todd Rosenberg
Courtesy of Lyric Opera

Mr. Newbury has chorus master Michael Black's powerful and precise ensemble on stage more often than is called for in the libretto—sometimes merely to offer mute witness. The idea, according to his program notes, is "to bring the tension of private and public space to life... Are a kind and queen ever truly alone?" I thought it mostly worked, as did the conceit of adding Anne's toddler daughter, the future Elizabeth I, to some key scenes. Having the child quietly observe the cruelty around her adds an element of poignance.

Conductor Patrick Summers has an fascinating note in the program about the difficulty of performing Donizetti's music with modern wind instruments, which are louder and more resonant than those available back in 1830. The balance seemed fine to my ears, and the overall sound of the orchestra perfectly supported the singers throughout.

Lyric Opera of Chicago's "Anna Bolena" runs through January 16, 2015, in the company's opulent and comfortable theater in the Chicago Loop. It alternates with "Porgy and Bess" through December 20. For more information, visit the company web site

St. Louis theatre calendar for the week of December 8, 2014

[Looking for auditions and other artistic opportunities? Check out the St. Louis Auditions site.]

For information on events beyond this week, check out the searchable database at the Regional Arts Commission's events web site.

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All is Calm

Mustard Seed Theatre presents the musical All is Calm Thursdays through Saturdays at 8 PM and Sundays at 2 and 5 PM through December 14. "Join us in celebrating the power of peace in this acapella musical based on the true story of soldiers during World War I who for one night, put down their arms and played soccer instead of exchanging bullets." Performances take place at the Fontbonne Fine Arts Theatre, 6800 Wydown Blvd. For more information, call (314) 719-8060 or visit the web site at www.mustardseedtheatre.com.

The Rep's Imaginary Theatre Company presents Bah! Humbug!, adapted from A Christams Carol, with book, music, and lyrics by Jack Herrick. Performances are December 13 through 23. "Mr. Scrooge throws his TV remote at ghosts while Bob Cratchit works inside the ATM in this hilarious modern update of a beloved holiday classic. Travel with the three spirits on a journey through past, present and future as old Ebenezer learns the joys of kindness and giving. Can Christmas be saved for the Cratchits? You'll find out in this musical romp that is sure to put a smile on the "Scroogiest" of faces." Performances take place at Heagney Theatre at Nerinx Hall High School, 530 East Lockwood Avenue in Webster Groves. For more information, call 314-968-4925 or visit repstl.org.

Susie Wall as
Dr. Ruth

New Jewish Theater presents Becoming Dr. Ruth through December 21. "There's more to famed sex therapist, Dr. Ruth Westheimer than meets the eye. Known from her career as a pioneering media sex therapist, Dr. Ruth has spoken frankly about sexual matters since her 1980 radio program. Few, however, know the incredible journey that preceded the fame. From her time as a youth fleeing from the Nazis in the Kindertransport, joining the Haganah, coming to America, marrying three times, we learn that there is much more to the 4'7" matronly therapist than meets the eye. Join her on this humourous, hope-filled journey filled with the honesty and the life affirming spirit of the girl who became "Dr. Ruth."" Performances take place in the Marvin and Harlene Wool Studio Theater at the Jewish Community Center, 2 Millstone Campus Drive in Creve Coeur. For more information: www.newjewishtheatre.org or call 314-442-3283.

Blithe Spirit
Photo: John Lamb

St. Louis Actors' Studio presents Noel Coward's comedy Blithe Spirit through December 21 at the Gaslight Theatre, 358 North Boyle. "The smash comedy hit of the London and Broadway stages, this classic from the playwright of Private Lives offers up fussy, cantakerous novelist Charles Condomine, re-married but haunted (literally) by the ghost of his late first wife, the clever and insistent Elvira who is called up by a visiting "happy medium", one Madame Arcati. As the (worldly and un-) personalities clash, Charles' current wife Ruth is accidentally killed, "passes over", joins Elvira and the two "blithe spirits" haunt the hapless." For more information, call 314-458-2978 or visit stlas.org.

Clinton County Showcase presents Christmas Belles through December 14. "A church Christmas program spins hilariously out of control in this Southern farce about squabbling sisters, family secrets, a surly Santa, a vengeful sheep and a reluctant Elvis impersonator." Performances take place at the Avon Theater, 525 North 2nd Street Breese IL. For more information, visit ccshowcase.com.

The Looking Glass Playhouse presents A Christmas Carol Friday and Saturday at 7:30 p.m. and Sunday at 2 and 7:30 p.m., December 12-14. Performances take place at 301 West St. Louis Street in Lebanon, Ill. For more information, visit www.lookingglassplayhouse.com.

The Fox Theatre presents The Nebraska Theatre Caravan's musical adaptation of A Christmas Carol Friday through Sunday, December 12-14. "The Nebraska Theatre Caravan has been touring Charles Jones' delightful adaptation of A CHRISTMAS CAROL since 1979. The Caravan's Carol, which weaves traditional Christmas carols throughout the narrative, is probably the most widely produced production of Dickens' in the nation, annually performing for more than 100,000 people in more than 60 cities across the country." The Fox is at 527 North Grand in Grand Center. For more information, fabulousfox.com.

R-S Theatrics presents Courtney Baron's seriocomedy Eat Your Heart Out through December 14. " childless couple desperate to adopt become surprisingly involved in the life of their social worker and her daughter." Performances take place at The Chapel, 6238 Alexander Drive in Clayton. For more information: r-stheatrics.com.

The Great American Trailer Park Christmas Musical
Photo: John Lamb

Stray Dog Theatre presents The Great American Trailer Park Christmas Musical Thursdays through Saturdays at 8 PM through December 20. "In this sequel to the original show [the runaway hit of 2013 at Stray Dog Theatre], Betty, Lin and Pickles jingle all the way with some new neighbors in Florida's Armadillo Acres Mobile Home Park. All is calm and bright with holiday beer until the local Scrooge is stricken by a freak bout of amnesia, putting neighborly love to the test. Just as much cat-fightin', sun-worshippin', chair-throwin' as the first, but with tinsel and Keg Nog to boot!" Performances take place at The Tower Grove Abbey, 2336 Tennessee. For more information, visit straydogtheatre.org or call 314-865-1995.

The Lemp Mansion Comedy-Mystery Dinner Theater presents its Harm for the Holidays through December 27. The Lemp Mansion is at 3322 DeMenil Place. For more information: lempmansion.com

Webster University's Conservatory of Theatre Arts presents Noel Coward's comedy Hay Fever Wednesday through Saturday at 7:30 PM and Sunday at 2 PM, December 10 through 14. Performances take place in the Stage III Auditorium on the Webster University campus. Fore more information, call 314-968-7128.

Midtown Artists and Topper Productions present cabaret artist Craig Pomranz in Here's to the Ladies on Saturday, December 13, at 7 p.m. "In his new show, Craig will lead you on an exploration of women's names in song, as only he can...with wit, sensitivity, and one of the dreamiest voices you'll ever hear! "Here's To The Ladies" will be presented at Cyrano's Cafe Webster Groves (603 East Lockwood), in their beautiful event room. Dinner is available before the show (in the main dining room), or during the show. If you plan to dine during the show, please arrive by 6:30, to place your order." Cyrano's is at 603 East Lockwood in Webster Groves, MO. For more information: www.brownpapertickets.com/event/943491.

Dramatic License Productions presents The Ladies Take Over: A Holiday Musical Revue Friday through Sunday, December 12-14. The show features Morgan Faulkner, Bethany Barr, Hayden Benbenek, Alicia Like and Michelle Burdette Elmore, with music direction by Charlie Mueller. Performances take place at Dramatic License Theatre located at the upper level of Chesterfield Mall (near Sears and across from Houlihan's Restaurant). For more information, call 636-220-7012 or visit dramaticlicenseproductions.org.

COCA presents the Ballet Eclectica production of The Little Dancer Friday through Sunday, December 12-14 "The COCA holiday tradition returns! Ballet Eclectica presents the tale of Degas' famous statuette that comes to life and finds herself dancing through famous works of art. The Little Dancer: Celebrate St. Louis has a decidedly St. Louis "spin," and is presented in partnership with stl250. The Little Dancer is sponsored by Mary Strauss." COCA is at 524 Trinity in University City. For more information, call (314) 725-6555 or visit www.cocastl.org.

The Bissell Mansion Murder Mystery Dinner Theatre presents Murder on 34th Street through December. The Bissell Mansion is at 4426 Randall Place. For more information: bissellmansiontheatre.com

Peabody Opera House presents the Stephen Schwartz musical Pippin on Wednesday through Sunday, December 10-14. For more information, visit peabodyoperahouse.com or call 314-622-5420.

A Raisin in the Sun
Photo: Stewart Goldstein

The Black Rep presents Lorraine Hansberry's drama A Raisin in the Sun through December 21. Performances take place at the Emerson Performance Center at Harris-Stowe State University in midtown. For more information: theblackrep.org

HotCity Theatre presents the world premiere of Reality by Lia Romeo through December 20. "What happens after the cameras stop rolling on TV's LOOKING FOR LOVE? It's amazingly funny how "happily ever after" can quickly turn into "Hell hath no fury..." Performances take place at the Kranzberg Arts Center, 501 North Grand in Grand Center. For more information, visit www.hotcitytheatre.org or call 314-289-4063.

Ring of Fire
Photo: Jerry Naunheim, Jr.

The Repertory Theatre of St. Louis presents Ring of Fire: the Music of Johnny Cash through December 28. "Featuring a company of multi-talented performers and over 30 hits from his iconic songbook, this spirited musical takes you on a journey through the life and career of The Man in Black. Exploring love, faith, struggle and success, songs such as " Boy Named Sue," "Daddy Sang Bass," "Folsom Prison Blues," "Jackson" and "I Walk the Line" tell the story of Johnny Cash in a salute to this unique American legend." Performances take place on the mainstage at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org.

Winter Opera St. Louis presents Conrad Susa's The Wise Women Wednesday and Thursday at 7:30 p.m., December 10 and 11. "This Christmas fable tells the story of the Three Wise Men like you've never heard it before—from the perspective of their wives. These Wise Women are determined to give Baby Jesus the best gift of all: Love. Bring the entire family for this wonderful Christmas experience, with hot cocoa and cookies, pictures with Santa in the lobby, audience participation and sing-along hymns. The St. Louis premiere of this piece features singers from the Winter Opera Chorus and Children's Choir, and several St. Louis Area High School Choirs. Join Winter Opera in celebrating Christmas the best way we know how—with music!" Performances take place at The Skip Viragh Center for the Arts at Chaminade College Preparatory School, 425 S. Lindbergh. For more information, visit winteroperastl.org.

Circus Flora and the St. Louis Symphony present A Winter Fable Friday through Sunday, December 12-14. "Set among the High Tatras Mountains in the ancient and beautiful Kingdom of the Spiis, A WINTER FABLE is a classic fairy tale with an edge of romance and deceit. Imagine a strange and wonderful world, in which the pairing of symphony and the circus arts is only the beginning of the magic you will experience. With a cast that mixes all-new Circus Flora performers with returning favorites including the gravity-defying Flying Wallendas, there's no better way to usher in winter and the Christmas season than with Circus Flora and the Symphony!" Performances take place at Powell Symphony Hall, 718 North Grand in Grand Center. For more information: stlsymphony.org.

Would you like to be on the radio? KDHX, 88.1 FM needs theatre reviewers. If you're 18 years or older, knowledgeable in this area, have practical theatre experience (acting, directing, writing, technical design, etc.), have good oral and written communications skills and would like to become one of our volunteer reviewers, send an email describing your experience and interests to chuck at kdhx.org. Please include a sample review of something you've seen recently.

Why is "Porgy and Bess" a classic? Lyric Opera of Chicago has the answer.

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If your only exposure to George Gershwin and DuBose Heyward's 1935 opera "Porgy and Bess" has been the tour of the cut down "Broadway" version that played the Muny this past summer or even the interesting but flawed Union Avenue Opera/Black Rep co-production from 2007, you'd probably be justified in wondering why this is considered a great American opera. The current Lyric Opera of Chicago revival of its 2008 production—which runs through December 20—demonstrates why.

With masterful stage direction by Francesca Zambello (based on her original staging at Washington National Opera) and insightful musical direction by former St. Louis Symphony resident conductor Ward Stare, this is the "Porgy and Bess" that will remind you what all the fuss is about. This was especially apparent for me in the first act (consisting of Gershwin’s Act I and first two scenes of Act II), which has some of the most emotionally powerful moments in the opera. “Bess, You Is My Woman Now” was particularly poignant.

The cast is solid, with great (if sometimes under-powered) singing and utterly convincing acting. Baritone Eric Owens leads the way as a fully realized and credible Porgy. As originally written, the character can some across as a bit one-dimensional and simple, but there was none of that here. The role sometimes goes low for a baritone, but Mr. Owens still has plenty of power in the bottom of his range.

Soprano Adina Aaron’s Bess also avoids cliché, emphasizing instead the character’s vulnerability and the terrible threat posed by her addiction to Sportin’ Life’s “happy dust.” There’s not a lot a sexual chemistry between the two, but I’m not sure that’s a bad thing, as it suggests there may be a purity to her relationship with Porgy that is impossible with the brutish Crown.

Speaking of whom, baritone Eric Greene makes Crown the appalling force of nature he should be. This is a character who is all Freudian “id”—unchecked desire with no sense of control. We got all that from Mr. Greene and a powerful voice as well.

Tenor Jermaine Smith has almost made a career out of the role of the amoral drug dealer Sportin’ Life. He played the role in Lyric Opera’s 2008 production as well as in the Union Avenue production I mentioned earlier. Reviewing him back then, I praised his clear, flexible voice and dance moves that remind me that the role was, from the beginning, a kind of homage to the vaudeville stage. It’s still true.

There are many other outstanding performances here, such as soprano Karen Slack’s Serena (her “My Man’s Gone Now” was heard-rending), soprano Hlengiwe Mkhwanazi as the doomed Clara, and contralto Gwendolyn Brown’s take-no-prisoners Maria. Baritone Norman Garrett also makes a strong impression as the equally doomed Jake. In fact, there’s really not a single performance here that isn’t at least good, and many clearly qualify as great.

The chorus figures prominently in “Porgy and Bess,” but Chorus Master Michael Black’s singers are more than up to the challenge. Gershwin makes it an important character in its own right, often commenting on and participating in the action. Many scenes feature virtuoso writing for chorus members, a classic example being the Act II "storm" sequence in which six completely independent vocal lines slowly merge with the chorus to produce the spiritual "Oh, de Lawd shake the Heavens". It’s a powerful moment, powerfully delivered.

Peter J. Davison’s unit set makes the scene changes quick and fluid. Combined with Mark McCullough’s atmospheric lighting, it makes Catfish Row look rather like a decaying and abandoned prison, all rusted sheet metal and institutional ugliness, but I think that neatly makes the point that the residents are effectively imprisoned by their poverty and by the brutality of the racist power structure represented so effectively by the police and other representatives of law enforcement in Heyward’s libretto. In Gershwin’s “Porgy and Bess,” the moment a white character opens his mouth, the music stops dead. You couldn’t ask for a more stark illustration of the racial divide.

Movement and choreography are important to “Porgy and Bess” a well. Assistant director and choreographer Denni Sayers makes the dance numbers seem to emerge naturally from the rest of the stage movement, making it an integral part of the characters. In both musical theatre and opera, dance numbers can sometimes feel like (and, indeed, are often intended to be) separate set pieces, divorced from the action. Not so here.

Praise is also due to costume designer Paul Tazewell. His earthy palette nicely matches that of Mr. Davison and helps give the show a unified look.

Ward Stare conducts the orchestra with assurance and if his tempi are sometimes a bit brisk, they’re clearly not a problem for either his musicians or his singers. Mr. Stare, as I noted some years ago, is clearly a man whose star is on the ascendant. This show will certainly be another feather in his cap.

I won’t say this is a perfect “Porgy and Bess,” but it’s so close that it probably doesn’t matter. This is a difficult piece to pull off at all and opportunities to see it done this well can be rare. It continues through December 20th in the company's opulent space in the Chicago Loop and is well worth a trip to the Windy City.

Final note: I’m not a hotel critic, but if you do make the trip up here, seriously consider the place where we stayed, the Kimpton Allegro. It’s a cool little boutique hotel and only three blocks from the opera house. The adjoining 312 Chicago restaurant is worthwhile as well.

St. Louis classical calendar for the week of December 8, 2014

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The Cathedral Basilica of St. Louis presents Christmas at the Cathedral on Saturday 8 p.m. and Sunday at 2:30 p.m., December 13 and 14. "The Tenth Annual Christmas at the Cathedral concert is the perfect way to celebrate the holiday season. The concert includes the Archdiocesan Adult Choir, Children’s Choir, Handbell Choir, and Orchestra all in the sonic splendor of the Cathedral Basilica. The program features Christmas classics old and new." The Cathedral is at 4431 Lindell in the Central West End. For more information: cathedralconcerts.org.

Circus Flora and the St. Louis Symphony Orchestra present A Winter Fable Friday at 7:30 p.m., Saturday at 2 and 7:30 p.m., and Sunday at 2 p.m., December 12-14. "Circus Flora joins the STL Symphony in high-wire holiday fun for the family. A Winter Fable is a classic fairy tale with an edge of romance and deceit. Circus Flora imagines a strange and wonderful world, in which the pairing of symphony and the circus arts is only the beginning of the magic you will experience. We welcome back all your favorites including the gravity-defying Flying Wallendas, the circus dog act and Circus Harmony’s St. Louis Arches!" The performances take place at Powell Symphony Hall, 718 North Grand in Grand Center. For more information: stlsymphony.org.

The Gateway Ringers present Believe, a holiday handbell concert, on Friday, December 12, at 7:30 p.m. "Join the Gateway Ringers as we celebrate the season with our holiday concert – “Believe”. Featuring new and old holiday favorites including “White Christmas”, “Sleigh Ride” and “Believe” (from “The Polar Express”), there’s a little something for everyone. All concerts are free and open to the public. For more information, contact us at info at gatewayringers.org." The concert takes place at Holy Cross Lutheran Church, 8945 Veterans Memorial Parkway in O'Fallon, MO. For more information: gatewayringers.org.

The Gateway Ringers present Believe, a holiday handbell concert, on Sunday, December 14, at 4 p.m. "Join the Gateway Ringers as we celebrate the season with our holiday concert – “Believe”. Featuring new and old holiday favorites including “White Christmas”, “Sleigh Ride” and “Believe” (from “The Polar Express”), there’s a little something for everyone. All concerts are free and open to the public. For more information, contact us at info at gatewayringers.org." The concert takes place at Messiah Lutheran Church, 2846 S. Grand Blvd. For more information: gatewayringers.org.

The Kirkwood Public Library presents the Bella Corda and Musica Viva guitar ensembles in a Christmas concert on Monday, December 15, at 7 p.m. The library is at 104 E. Jefferson in Kirkwood, MO. For more information: kirkwoodpubliclibrary.org.

The Maryville Symphony Orchestra presents a concert featuring Beethoven's "Symphony No. 5" on Sunday, December 14, at 2 p.m. The concert takes place at the Maryville University Auditorium, 650 Maryville University Drive. For more information: maryvillesymphony.com.

The St. Louis Symphony’s Crescendo Circle presents Sips and Symphonies on Thursday, December 11, at 7:30 PM. “What is Sips and Symphonies? It is a great way to learn about music in a fun, casual environment. On the third Thursday of each month, we get together at Tavern of Fine Arts to listen to and discuss a piece of music being performed at an upcoming concert at Powell Hall. We will have a different guest moderator each month who will help lead an informal conversation about the music.” A special cocktail is created for each event to accompany the music. The event takes place at The Tavern of Fine Arts, 313 Belt in the Debaliviere Place neighborhood. For more information: tavern-of-fine-arts.blogspot.com.

Saint Louis University’s Fine and Performing Arts Music Program presents a holiday concert by the University Jazz Band on Monday, December 8, at 7:30 p.m. The concert takes place in the Xavier Hall Theater, 3733 West Pine, on the St. Louis University campus. For more information: www.slu.edu/department-of-fine-and-performing-arts-home.

Saint Louis University’s Fine and Performing Arts Music Program presents a holiday concert by the University Concert Band on Wednesday, December 10, at 5 p.m. The concert takes place in the Xavier Hall Theater, 3733 West Pine, on the St. Louis University campus. For more information: www.slu.edu/department-of-fine-and-performing-arts-home.

The Sheldon Concert Hall presents the contemporary chamber music ensemble Alarm Will Sound in concert on Thursday, December 11, at 8 p.m. "Cutting-edge chamber orchestra Alarm Will Sound returns for its third St. Louis Season! The ensemble performs the newest music being composed today with energetic virtuosity and a sense of adventure, creating programs that not only span a wide range of styles, but also innovate the traditional concert experience itself." The Sheldon is at 3658 Washington in Grand Center. For more information: thesheldon.org.

The Tavern of Fine Arts presents a classical open stage night on Monday, December 8 from 7:30 – 9 PM. “Come by yourself or bring your quartet. Sight read through a Beethoven quartet or use this as an opportunity to put the finishing touches on that Hindemith Viola Sonata you have been working on. All ages and skill levels are welcome. We have a 6' grand piano and an accompanist.” The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood. For more information: tavern-of-fine-arts.blogspot.com.

The Tavern of Fine Arts presents a Christmas concert by the River City Pops Saturday, December 13, at 8 PM. "River City Pops is not your usual choral group. We put on real shows - musical reviews that tell stories through song and choreography. Men’s and women’s voices accompanied by piano bring the great music of our time to life through multipart harmonies, duets and solos. There’s never a dull moment in a River City Pops performance - and our audiences love us for it." The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood. For more information: tavern-of-fine-arts.blogspot.com.

The Touhill Performing Arts Center presents Sounds of the Season, a holiday concert by the a cappella vocal group Ambassadors of Harmony, on Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 p.m., December 12-14. "Each December, the International Chorus Champion Ambassadors of Harmony’s Sounds of the Season fills the Touhill with the joy and magic of the holidays. The first half of the show is an energetic look at the lighter side of Christmas. Then the chorus puts its heavenly harmonies on classic carols and songs." The Touhill Performing Arts Center in located on the University of Missouri at St. Louis campus. For more information: touhill.org.

The Washington University Department of Music presents the Washington University Choirs and Soloists in a Sing-Along of Handel’s Messiah on Sunday, December 14, at 3 p.m. The participatory performance takes place at Graham Chapel on the Washington University campus. For more information: music.wustl.edu.

Symphony Preview: Extra seasons with the St. Louis Symphony, December 5-7, 2014

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As I said in my first symphony preview post this week, the main event at the St. Louis Symphony this weekend is Vivaldi’s “The Four Seasons.” Steven Jarvi is at the podium and the violin soloists—all drawn from the symphony string section—are Jessica Cheng (“Spring”), Angie Smart (“Summer”), Jooyeon Kong (“Autumn”), and Alison Harney (“Winter”). What I left out was any mention of the other two works on the program.

Usually a performance of “The Four Season” presents all four of the concertos as a unit. But not always. Before the four concertos became part of the standard repertoire, it wasn’t unusual for them to be played individually. Indeed, as I noted in my earlier post, that’s exactly what St. Louis Symphony back in January of 1928 when guest conductor Bernadino Molinari spread them out over three separate concerts.

This time around Mr. Jarvi has kept them all on the same bill but has shuffled in two other pieces: Samuel Barber’s hauntingly nostalgic “Knoxville: Summer of 1915,” Op. 24 (1947), with Kiera Duffy as the soprano soloist; and Richard Wagner’s utterly ingratiating “Siegfried Idyll” from 1870. The Wagner was written as a Christmas present for his wife Cosima, so it’s played just before the “Winter” concerto, while the Barber acts as a bridge between spring and summer.

Mr. Jarvi elaborates on the logic behind this in the program notes. “James Agee’s incredible text,” he observes, “brings this work to life, similar to the poems that inspired The Four Seasons, which may or may not have been written by Vivaldi...With Wagner we move from autumn to winter. At first we were looking at something symbolic of winter—something representative of ‘lateness,’ the end of life. Then we thought of how Siegfried Idyll was one of the most wonderful musical Christmas gifts ever given.”

Makes sense. And I’m especially happy to see the Barber on the program. Mr. Jarvi says it’s one of his “favorite pieces of all time” and I’m inclined to agree with him. I first encountered this wonderfully evocative setting of James Agee’s little prose-poem (which later became the prologue for his autobiographical novel “A Death in the Family”) in a 1968 recording by the great Leontyne Price with an orchestra conducted by Thomas Schippers, and have been something of a sucker for it ever since.

The text is a poetic recollection of a peaceful scene from the author’s childhood in which the narrator is sometimes an adult and sometimes the child who later becomes the adult. Prosaic descriptions of a quiet summer evening on the lawn are mixed with flights of poetic fancy, leading finally to philosophical contemplation of the narrator’s family and their place in the cosmos: "By chance, here they are, all on this earth; and who shall ever tell the sorrow of being on this earth, lying, on quilts, on the grass, in a summer evening, among the sounds of the night." Barber’s music mirrors and highlights all of this with deceptive simplicity.

The inspiration for the novel of which Agee’s text became a part was a death; specifically, the death of Agee’s father. In the case of Wagner’s “Siegfried Idyll,” the inspiration was exactly the opposite: the birth, in 1869, of the composer’s son Siegfried.

The piece was originally titled “Triebschen Idyll with Fidi's birdsong and the orange sunrise, as symphonic birthday greeting. Presented to his Cosima by her Richard. "Fidi," says Wikipedia, “was the family's nickname for their son Siegfried. It is thought that the birdsong and the sunrise refer to incidents of personal significance to the couple.” The first performance took place not in a concert hall, but on the stairs of the Wagner family home in Tribschen on Christmas morning, 1870. The musicians were members of the Tonhalle Orchester Zürich. Wagner’s wife Cosima (whose own birthday was December 24th) was awakened by the first gentle strains of the music and was, as you might expect, completely enchanted.

“As I awoke,” she would later recall, “my ear caught a sound, which swelled fuller and fuller; no longer could I imagine myself to be dreaming: music was sounding, and such music! When it died away, Richard came into my room with the children and offered me the score of the symphonic birthday poem. I was in tears, but so were all the rest of the household. Richard had arranged his orchestra on the staircase, and thus was our Tribschen consecrated forever.”

Although Wagner never intended the piece for public performance,, financial considerations obliged him to expand the orchestration from the original 13 players to 35 and publish the work as the “Siegfried Idyll” in 1878. It might also have been a canny marketing decision. He used themes from the “Idyll” in his 1876 opera “Siegfried,” so publication gave him another way to get his “Ring” cycle music before the public.

It is, in any case, a disarming a piece as you are likely to hear, and utterly unlike the more grandiose gestures most people associate with Wagner. It’s a reminder that even that great egotist had his moments of intimate reflection. And it also reminds us that winter is about the warmth of family as well as the cold weather.

The essentials: Steven Jarvi conducts the St. Louis Symphony Orchestra along with violin soloists Jessica Cheng, Angie Smart, Jooyeon Kong, and Alison Harney Friday at 10:30 a.m. and 8 p.m., Saturday at 8 p.m., and Sunday at 3 p.m., December 5-7. The concerts take place at Powell Symphony Hall, 718 North Grand in Grand Center. For more information: stlsymphony.org.

Chuck's St. Louis theatre choices for the weekend of December 5, 2014

As always, the choices are purely my personal opinion. Take with a grain (or a shaker) of salt.

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The Theatre Lab and the Players Project present the 24 Hour Play Festival on Saturday, December 6. “We welcome new people to the roster (including Greg Fenner, Em Piro, Anna Skidis, Matt Pentecost, Larissa White and more!) SIX original works instead of five! Members of The Improv Shop will be performing an improv bit to cap off the night! Emcee'd by The Improv Shop's very own Pat Niday!!” The performance takes place at Webster High School, 100 Selma in Webster Groves. For more information: brownpapertickets.com.

My take: How does this work? Well, six writers are given a genre in which to write and a line that has to be incorporated into the script. They have seven days to write a short play and then the actors have 24 hours to cast, rehearse, and finally present the results. Think of it as theatrical speed dating. This is definitely high wire act material and has the potential to generate plenty of excitement.

Held Over:

Mustard Seed Theatre presents the acappella musical All is Calm Thursdays through Saturdays at 8 PM and Sundays at 2 and 5 PM through December 14. "Join us in celebrating the power of peace in this acapella musical based on the true story of soldiers during World War I who for one night, put down their arms and played soccer instead of exchanging bullets." Performances take place at the Fontbonne Fine Arts Theatre, 6800 Wydown Blvd. For more information, call (314) 719-8060 or visit the web site at www.mustardseedtheatre.com.

My take: This show is apparently going to be a holiday tradition at Mustard Seed, and with good reason. The story of the remarkable holiday truce that spontaneously interrupted the insanity of World War I remains an inspiring reminder of what happens when ordinary people ignore the manipulations of their leadership and allow their basic decency to take control of their actions. The lesson for contemporary politics is clear.

Magic Smoking Monkey Theatre presents Trey Parker's Cannibal the Musical through December 6. "Created in the style of the 1950's movie musical Oklahoma!, Cannibal follows the life of Alferd Packer, the man who lead an ill-fated party of men to Colorado Territory during the winter of 1873-74. Alferd was the lone survivor of this trip and was later put on trial for murdering and eating his party. Along the journey to Colorado Territory, Packer loses his beloved horse, Liane, and encounters trappers, snowmen, ninjas, sheep, Indians, aliens and a cyclops, all in an effort to find her." Performances take place at the Ivory Theatre, 7622 Michigan. For more information: cannibal-stl.com.

My take: Magic Smoking Monkey Theatre, the illegitimate love-child of St. Louis Shakespeare, is known mostly for concocting its own scripts from pop culture detritus like the films of Ed Wood and superhero cartoons. Producing an actual book musical—by Trey Parker of South Park and Book of Mormon fame, no less—is an unusual step for them, even if it is the same one they took back in 2011. Reviewing the original production, stltoday.com's Gabe Hartwig described it as "hilarious." "'Cannibal!' is full of inside jokes, profanity and toilet humor. If you enjoy 'South Park,' you'll be right at home." And what better way to celebrate Thanksgiving, I ask you?

Symphony Preview: The Curious Case of the Second Premiere

Antonio Vivaldi
en.wikipedia.org

This weekend (December 5-7, 2014) the major work on the St. Louis Symphony program is the set of violin concertos by Antonio Vivaldi known as "The Four Seasons." It's a popular work with performers and audiences alike. As I discovered in my research for this post, it also has a long and significant history with the SLSO.

But before we get to that, here's a bit of background.

Composed around 1720 (as with many aspects of Vivaldi's life, dates are foggy), "The Four Seasons" was originally published as part of a set of twelve concertos titled "Il cimento dell'armonia e dell'inventione" ("The Contest Between Harmony and Invention"). Each of the four three-movement concertos describes—often very vividly—aspects of a particular season. They were even accompanied by sonnets (anonymous, but possibly by Vivaldi himself) that provide narratives for each concerto.

Combine that almost cinematic tone painting with Vivaldi's gift of melody and you have music that was destined to be popular. And it was, at least during Vivaldi's time. After his death, though, that all changed. Interest in his work faded, and copies of his music were hard to come by. "For nearly 200 years," writes Peter Gutmann at classicalnotes.net, "Vivaldi was a historical footnote, although a somewhat influential one…His only lasting recognition came from the fervent admiration of Bach, who modeled his own concerto style after Vivaldi's and adapted for keyboard nine Vivaldi violin concerti (even though Bach devotees tended to disparage the source)."

That began to change in 1926 when a boarding school in Piedmont discovered a huge cache of old manuscripts, including hundreds of works by Vivaldi. It aroused the interest of scholars and conductors, including Bernardino Molinari (1880-1952), who was then the conductor of the Accademia di Santa Cecilia.

He was also, is it happens, about to become a guest conductor at the St. Louis Symphony.

In researching this blog post, one of the books I consulted was "Great Orchestral Music: A Treasury of Program Notes" edited by Julian Seaman (Collier Books, 1962). Its entry on "The Four Seasons" is brief, but includes this provocative paragraph, attributed to the late Lawrence Gilman (1878-1939), music critic of the New York Herald-Tribune: "They [the concertos] were published in a modern edition prepared by Bernardino Molinari in 1927. Mr. Molinari gave the first American performances of the complete work with the St. Louis Symphony Orchestra in January, 1928."

Molinari in Jerusalem, 1945
en.wikipedia.org

The program notes for this week's concerts state that the first SLSO performance of "The Four Seasons" was on February 20, 1953, with Vladimir Golschmann at the podium. But if Gilman is right, the first performance was 25 years earlier, and an American premiere to boot. Obviously some detective work was necessary to determine which account was correct.

After an hour or two pouring over 1928 copies of the St. Louis Post-Dispatch at the St. Louis Public Library's downtown headquarters, it became clear that both the program notes and Gilman are right, in their own way.

Molinari did, in fact, conduct "The Four Seasons" in January of 1928, but he stretched the four concertos out over an entire month—"like the magazine serial stories," as the paper's music critic, Thomas B. Sherman, wryly observed in his review of the first set of concerts. "Spring" was performed in a pair of concerts on Friday and Saturday, January 6 and 7. "Summer" was the following week, and the final two concertos were performed in concerts on January 27 and 28.

Mr. Sherman doesn't state that these are American premieres, but I'm inclined to take Mr. Gilman's word for that. He loved the SLSO performance, in any case, calling it "ingratiating, warm and transparent" and describing the strings as "rich and unified."

So, yes, the first performance by the SLSO of "The Four Seasons" in a single night was in 1953. But the orchestra had played the music much earlier than that, and apparently introduced it to the USA. So when you hear "The Four Seasons" this weekend, remember that this music has a long and distinguished history with this band.

Interesting footnote: the Vivaldi was somewhat overshadowed in the January 27-29 concerts by the piano soloist. It was the "young Russian pianist" Vladimir Horowitz, who had arrived in the USA just two weeks ago and had already created a sensation with the New York Philharmonic under Sir Thomas Beecham. Mr. Sherman loved Horowitz ("a powerful tone and a sparkling and expertly controlled technique") but hated the piece he played, Rachmaninoff's "Piano Concerto No. 3," calling it "as dull a thing as the noted Muscovite expatriate has ever done". History has rather overruled him that one.

Bernstein and Gershwin rule in an all-American Thanksgiving weekend with the St. Louis Symphony

Kirill Gerstein

Who: The St. Louis Symphony Orchestra
What: Music of Bernstein, Gershwin, Michael Daugherty, and Andrew Norman
Where: Powell Symphony Hall, St. Louis
When: November 28-30, 2014

St. Louis residents had a great alternative to the teeming multitudes at the malls and movie theaters Thanksgiving weekend: a bracing concert of American music for that most American of holidays.

This weekend's concerts open with a fanciful bit of low comedy and high musical invention: Michael Daugherty's "Hell's Angels." Scored for bassoon quartet and large orchestra (a plethora of percussion, including the massive "Mahler box" and a thundersheet), the piece is a cinematically vivid send-up of the obnoxious noise-making that seems endemic to motorcycle culture in the USA. The composer says it's "the musical tale of a gang of hot-rodding motorcycling bassoonists who ride into town and take over a concert hall" and, in fact, that's how David Robertson has staged it. The orchestra began playing the minuet from Boccherini's Op. 11 string quartet, only to have it rudely interrupted by Daugherty's aggressively discordant opening as SLSO bassoonists Andrew Cuneo, Andrew Gott, and Felicia Foland and contrabassoonist Gregg Henegar swaggered on to the stage all punked up in black leather to play their fiercely difficult solos. The joking suggestion, in my preview article, that Mr. Cuneo, as Principal Bassoon, should be wearing a black leather jacket with an eagle on the back turned out to be unintentionally prophetic.

As you might expect from the composer of the Peter Schickele-esque "Le Tombeau de Liberace" (which the SLSO did back in 2003), "Hell's Angels" is long on visual and musical jokes and features some spectacular virtuoso writing for the soloists, with lightning runs, leaps that employ the full range of the instruments, and what the composer describes as "devilishly difficult polyrhythms." Granted, the noisy movie music orchestrations swamped some of it, but Daugherty has written some wonderfully transparent passages as well.

For me, "Hell's Angels" wore out its welcome a bit before it ended, but it was still great fun. It was also a nice prologue for another work inspired by testosterone-fueled acting out, Leonard Bernstein's "Symphonic Dances from West Side Story."

If your only exposure to the dance music from Bernstein's "West Side Story" is via the film or touring productions of the show, you might not be aware of just how brilliantly scored it is. Theatrical pit bands rarely have enough players to do it justice, so much thanks is due to the composer and his orchestrators, TV and film arrangers Sid Ramin and Irwin Kostal, for putting together this nine-movement suite in 1960. It's a remarkable piece, filled with tricky polyrhythms, dissonance, flashy orchestration (including an expanded percussion battery), and a raft of other touches that remind us of how effectively Bernstein bridged the worlds of concert hall and Broadway theatre.

As you might gather from that last paragraph, this is music that requires great precision and drive from the orchestra (to say nothing of the ability to snap fingers and shout "mambo" on cue). I'm happy to report that Mr. Robertson and his forces passed the score's tests with flying colors. The percussion section covered itself with glory, and they weren't alone. Everyone played with such fluid skill that it was easy to forget what a challenging piece this is.

Even in the standard repertoire, by the way, Mr. Robertson has an uncanny knack for reminding us of the dance rhythms that underlie so much of Western music. In openly dance-inspired pieces like this, he is thoroughly in his element.

The big attraction for me this week, though, was the original 1924 jazz band version of Gershwin's "Rhapsody in Blue." Usually heard in Ferde Grofe's full-orchestra expansion of 1937, the "Rhapsody" didn't get back to its roots until Samuel Adler reconstructed and recorded the 1924 arrangement in 1971. The jazz band version has a kind of snap and flash that a full orchestra can't seem to match, especially when played by an ensemble as good as this one. Scott Andrews gave the famous opening clarinet solo all the limpid, bluesy grace it needs, nicely seguing into Tom Drake's "wah-wah" trumpet. The addition of saxophonists Nathan Nabb, Paul DeMarinis, and Adrianne Honnold added considerably to the '20s ambience, as did James Betts on banjo.

Pianist Kirill Gerstein played the solo part with all the technical skill you might expect, combined with an impressive sensitivity to the improvisatory nature of this piece. He freely embellished the music more than once Friday night (and even more so on Saturday), but always in a '20s jazz style that was very true to Gershwin. It was a reminder that the composer himself did some improvising when he played the work's Aeolian Hall premiere.

It was, in short, a joy to finally see and hear a live performance of an arrangement that I had previously known only on recordings.

Preceding the Gershwin and, in fact, leading into it without pause, was Andrew Norman's "Try" for piano and orchestra. Composed on a commission in 2011, the work is, according to Mr. Norman, about the difficult process of trying different musical ideas until you come up with one that "finally (fingers crossed) gets it right." It's an interesting notion, but in practice it sounded like a compilation of every "new music" cliché of the last fifty years. After 15 long minutes, it slowly winds down to a single descending figure in the piano repeated well past the point of tedium. It was, you should pardon the expressing, trying.

Throughout the evening—and especially during the last two works—artist S. Katy Tucker provided projections and a light show. They enhanced the Norman and the Gershwin, and provided some mood-setting footage from the film version of "West Side Story" as a prelude to the Bernstein. I don't know that any of it was particularly essential, but it was a nice addition nevertheless.

Next at Powell Hall: Steven Jarvi conducts the St. Louis Symphony Orchestra along with violin soloists Jessica Cheng, Angie Smart, Jooyeon Kong, and Alison Harney Friday at 10:30 a.m. and 8 p.m., Saturday at 8 p.m., and Sunday at 3 p.m., December 5-7. The program features Vivaldi's "Four Seasons" along with music by Barber and Wagner. The concerts take place at Powell Symphony Hall, 718 North Grand in Grand Center. For more information, visit the symphony web site.

St. Louis theatre calendar for the week of December 1, 2014

[Looking for auditions and other artistic opportunities? Check out the St. Louis Auditions site.]

For information on events beyond this week, check out the searchable database at the Regional Arts Commission's events web site.

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The Theatre Lab and the Players Project present the 24 Hour Play Festival on Saturday, December 6. “We welcome new people to the roster (including Greg Fenner, Em Piro, Anna Skidis, Matt Pentecost, Larissa White and more!) SIX original works instead of five! Members of The Improv Shop will be performing an improv bit to cap off the night! Emcee'd by The Improv Shop's very own Pat Niday!!” The performance takes place at Webster High School, 100 Selma in Webster Groves. For more information: brownpapertickets.com.

The cast of "All is Calm"

Mustard Seed Theatre presents the musical All is Calm Thursdays through Saturdays at 8 PM and Sundays at 2 and 5 PM through December 14. “Join us in celebrating the power of peace in this acapella musical based on the true story of soldiers during World War I who for one night, put down their arms and played soccer instead of exchanging bullets.” Performances take place at the Fontbonne Fine Arts Theatre, 6800 Wydown Blvd. For more information, call (314) 719-8060 or visit the web site at www.mustardseedtheatre.com.

Alton Little Theater presents the musical Always...Patsy Cline Thursday through Sunday, December 4-7, at 2450 North Henry in Alton, IL. For more information, call 618.462.6562 or visit altonlittletheater.org.

The Fox Theatre presents the musical Annie Tuesday through Sunday, December 2-7. The Fox Theatre is at 517 North Grand in Grand Center. For more information: fabulousfox.com

Susie Wall as
Dr. Ruth

New Jewish Theater presents Becoming Dr. Ruth December 4-21. “There's more to famed sex therapist, Dr. Ruth Westheimer than meets the eye. Known from her career as a pioneering media sex therapist, Dr. Ruth has spoken frankly about sexual matters since her 1980 radio program. Few, however, know the incredible journey that preceded the fame. From her time as a youth fleeing from the Nazis in the Kindertransport, joining the Haganah, coming to America, marrying three times, we learn that there is much more to the 4'7" matronly therapist than meets the eye. Join her on this humourous, hope-filled journey filled with the honesty and the life affirming spirit of the girl who became "Dr. Ruth."” Performances take place in the Marvin and Harlene Wool Studio Theater at the Jewish Community Center, 2 Millstone Campus Drive in Creve Coeur. For more information: www.newjewishtheatre.org or call 314-442-3283.

St. Louis Actors' Studio presents Noel Coward's comedy Blithe Spirit December 5-21 at the Gaslight Theatre, 358 North Boyle. “The smash comedy hit of the London and Broadway stages, this classic from the playwright of Private Lives offers up fussy, cantakerous novelist Charles Condomine, re-married but haunted (literally) by the ghost of his late first wife, the clever and insistent Elvira who is called up by a visiting “happy medium”, one Madame Arcati. As the (worldly and un-) personalities clash, Charles' current wife Ruth is accidentally killed, “passes over”, joins Elvira and the two “blithe spirits” haunt the hapless.” For more information, call 314-458-2978 or visit stlas.org.

"Cannibal the Musical"

Magic Smoking Monkey Theatre presents Trey Parker's Cannibal the Musical through December 6. "Created in the style of the 1950’s movie musical Oklahoma!, Cannibal follows the life of Alferd Packer, the man who lead an ill-fated party of men to Colorado Territory during the winter of 1873-74. Alferd was the lone survivor of this trip and was later put on trial for murdering and eating his party. Along the journey to Colorado Territory, Packer loses his beloved horse, Liane, and encounters trappers, snowmen, ninjas, sheep, Indians, aliens and a cyclops, all in an effort to find her." Performances take place at the Ivory Theatre, 7622 Michigan. For more information: cannibal-stl.com.

Clinton County Showcase presents Christmas Belles December 5-14. “A church Christmas program spins hilariously out of control in this Southern farce about squabbling sisters, family secrets, a surly Santa, a vengeful sheep and a reluctant Elvis impersonator.” Performances take place at the Avon Theater, 525 North 2nd Street Breese IL. For more information, visit ccshowcase.com.

Lindenwood University's J. Scheidegger Center for the Arts presents A Christmas Carol Tuesday through Saturday, December 2-7, at 7:30 PM in the Bezemes Family Theater. The Scheidegger Center is on the Lindenwood campus in St Charles MO. For more information, visit lindenwood.edu/center.

R-S Theatrics presents Courtney Baron's seriocomedy Eat Your Heart Out December 5-14. “A childless couple desperate to adopt become surprisingly involved in the life of their social worker and her daughter.” Performances take place at The Chapel, 6238 Alexander Drive in Clayton. For more information: r-stheatrics.com.

Southern Illinois University at Edwardsville presents the one-act plays Far and Away and A Number by Caryl Churchill Tuesday through Sunday, December 2-7. “Far and Away is a story about a dystopian future where civilization has slipped backwards into an Orwellian barbarism. A Number addresses the concept we hold of ourselves about being unique and individualistic. But how would we feel if we discovered that there was more than one of us? And maybe, we were not the original!” The performances take place on the campus in Edwardsville, IL. For more information, call 618-650-2774.

"The Great American Trailer Park Christmas Musical"

Stray Dog Theatre presents The Great American Trailer Park Christmas Musical Thursdays through Saturdays at 8 PM December 4-20. “In this sequel to the original show [the runaway hit of 2013 at Stray Dog Theatre], Betty, Lin and Pickles jingle all the way with some new neighbors in Florida's Armadillo Acres Mobile Home Park. All is calm and bright with holiday beer until the local Scrooge is stricken by a freak bout of amnesia, putting neighborly love to the test. Just as much cat-fightin', sun-worshippin', chair-throwin' as the first, but with tinsel and Keg Nog to boot!” Performances take place at The Tower Grove Abbey, 2336 Tennessee. For more information, visit straydogtheatre.org or call 314-865-1995.

The Lemp Mansion Comedy-Mystery Dinner Theater presents its Harm for the Holidays December 5-27. The Lemp Mansion is at 3322 DeMenil Place. For more information: lempmansion.com

Webster University's Conservatory of Theatre Arts presents Noel Coward's comedy Hay Fever Wednesdays through Saturdays at 7:30 PM and Sundays at 2 PM, December 3 through 14. Performances take place in the Stage III Auditorium on the Webster University campus. Fore more information, call 314-968-7128.

Theatre Guild of Webster Groves Youth Theatre presents Is It Time Yet? Friday through Sunday, December 5-7. Performances take place in the Guild theatre at Newport and Summit in Webster Groves, MO. For more information: theatreguildwg.org or call 314-962-0876.

The Bissell Mansion Murder Mystery Dinner Theatre presents Murder on 34th Street through December. The Bissell Mansion is at 4426 Randall Place. For more information: bissellmansiontheatre.com

"A Raisin in the Sun"
Photo: Stewart Goldstein

The Black Rep presents Lorraine Hansberry's drama A Raisin in the Sun through December 21. Performances take place at the Emerson Performance Center at Harris-Stowe State University in midtown. For more information: theblackrep.org

HotCity Theatre presents the world premiere of Reality by Lia Romeo December 5-20. “What happens after the cameras stop rolling on TV's LOOKING FOR LOVE? It's amazingly funny how "happily ever after" can quickly turn into "Hell hath no fury..." Performances take place at the Kranzberg Arts Center, 501 North Grand in Grand Center. For more information, visit www.hotcitytheatre.org or call 314-289-4063.

The Repertory Theatre of St. Louis presents Ring of Fire: the Music of Johnny Cash December 3-28. “Featuring a company of multi-talented performers and over 30 hits from his iconic songbook, this spirited musical takes you on a journey through the life and career of The Man in Black. Exploring love, faith, struggle and success, songs such as “A Boy Named Sue,” “Daddy Sang Bass,” “Folsom Prison Blues,” “Jackson” and “I Walk the Line” tell the story of Johnny Cash in a salute to this unique American legend.” Performances take place on the mainstage at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org.

Would you like to be on the radio? KDHX, 88.1 FM needs theatre reviewers. If you're 18 years or older, knowledgeable in this area, have practical theatre experience (acting, directing, writing, technical design, etc.), have good oral and written communications skills and would like to become one of our volunteer reviewers, send an email describing your experience and interests to chuck at kdhx.org. Please include a sample review of something you've seen recently.

St. Louis classical calendar for the week of December 1, 2014

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The Chamber Music Society of St. Louis presents Wind Serenade on Monday and Tuesday, December 1 and 3, at 7:30 PM. "Chamber Music Society of St. Louis presents an updated re-creation of the 18th Century party environment. Music of Haydn, Mozart, and Beethoven." The concert takes place at The Sheldon Concert Hall, 3648 Washington. For more information: chambermusicstl.org.

The Jefferson College Concert Band presents a Winter Classics concert on Tuesday, December 2, at 7:30 p.m. The performance takes place in the Fine Arts Theatre at 1000 Viking Drive on the Hillsboro campus in Hillsboro, MO. For more information: jeffco.edu.

The Jefferson College Music Department presents Sounds of the Season, a choral concert, on Sunday, December 7, at 3:30 p.m. The performance takes place in the Fine Arts Theatre at 1000 Viking Drive on the Hillsboro campus in Hillsboro, MO. For more information: jeffco.edu.

The New Music Circle presents The Craig Taborn and Roscoe Mitchell Duo on Friday, December 11, at 7:30 p.m. "An internationally renowned musician, composer and innovator, Roscoe Mitchell began his distinguished career in the spirited 1960s of Chicago. In Mitchell's own opinion, his work is a product of his heritage in the fertile art communities of the AACM (Association for Advancement of Creative Musicians) and The Art Ensemble of Chicago. Both organizations spawned large networks of musicians and inspired radical approaches to performance and musical thought, thus informing his own practice for over five decades. Primarily known for his saxophone playing, Mitchell's multi-instrumental palette also includes various flutes, woodwinds and a broad range of percussion. NYC pianist and ECM recording artist, Craig Taborn, has remained a ubiquitous presence on the jazz scene for the past two decades, performing with jazz musicians and seasoned veterans as well as experimental rock and techno artists. His pianistic approach alludes to the explorations of Bill Evans, Keith Jarrett, and Cecil Taylor." The performance takes place at The Stage @ KDHX, 3524 Washington in Grand Center. For more information: newmusiccircle.org.

The St. Louis Brass Band presents A Holiday Spectacular on Sunday, November 16, at 2:30 p.m. "This concert will bring a smile to your face and Ho Ho Ho to your lips as the British Brass Band presents holiday and seasonal favorites as only a brass band can. As this concert also falls on December 7th, a portion of this concert will honor the servicemen and servicewomen who have given so much to the freedoms we enjoy. The Band will also be looking forward to their annual visit from that special holiday character from the North Pole." The concert takes place at The Florissant Civic Center, 1 James J. Eagan Drive in Florissant, MO. For more information: stlbb.org.

Steven Jarvi conducts the St. Louis Symphony Orchestra along with violin soloists Jessica Cheng, Angie Smart, Jooyeon Kong, and Alison Harney, on Friday at 10:30 a.m. and 8 p.m., Saturday at 8 p.m., and Sunday at 3 p.m., December 5-7. The program features Vivaldi's "Four Seasons" along with music by Barber and Wagner. "Drawing inspiration from his everyday surroundings, Vivaldi's Four Seasons evoke the sounds of nature unique among the composer's two hundred violin concertos. Resident Conductor Steven Jarvi makes his subscription debut with Vivaldi's masterwork that puts the soloists—the STL Symphony's own Jessica Cheng, Angie Smart, Jooyeon Kong, Alison Harney—and ensemble on stunning virtuosic display." The concerts take place at Powell Symphony Hall, 718 North Grand in Grand Center. For more information: stlsymphony.org.

Saint Louis University's Fine and Performing Arts Music Program presents a holiday concert by the Guitar Ensemble on Wednesday, December 3, at 7:30 p.m. The concert takes place at Boileau Hall, 38 N. Vandeventer Avenue on the St. Louis University campus. For more information: www.slu.edu/department-of-fine-and-performing-arts-home.

Saint Louis University's Fine and Performing Arts Music Program presents a holiday student recital on Friday, December 5, at 5:30 p.m. The concert takes place in Room 348, Xavier Hall, on the St. Louis University campus. For more information: www.slu.edu/department-of-fine-and-performing-arts-home

Saint Louis University's Fine and Performing Arts Music Program presents a holiday String Orchestra concert on Friday, December 5, at 7:30 p.m. The concert takes place in the Xavier Hall Theater, 3733 West Pine, on the St. Louis University campus. For more information: www.slu.edu/department-of-fine-and-performing-arts-home

Saint Louis University's Fine and Performing Arts Music Program presents a holiday concert by the University String Quartets on Sunday, December 7, at 2 p.m. The concert takes place at St. Francis Xavier College Church at the corner of Lindell and Grand on the St. Louis University campus. For more information: www.slu.edu/department-of-fine-and-performing-arts-home

Saint Louis University's Fine and Performing Arts Music Program presents a holiday concert by the University Choirs on Sunday, December 7, at 6 p.m. The concert takes place at St. Francis Xavier College Church at the corner of Lindell and Grand on the St. Louis University campus. For more information: www.slu.edu/department-of-fine-and-performing-arts-home

The Shepley Program of Music and Arts presents A Holiday Gift from Webster University on Sunday, December 7, at 2 PM. "This concert, titled 'A Holiday Gift to the People of Saint Louis' is presented and performed by the Students and Faculty of Webster University." The recital takes place at Christ Church Cathedral, 1210 Locust. Admission is free. For more information: christchurchconcerts.org.

Cardinal String Quartet

The Tavern of Fine Arts presents The Cardinal String Quartet in a program of music by Beethoven and Dvorak on Tuesday, December 2, at 8 PM. The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood. For more information: tavern-of-fine-arts.blogspot.com.

The Touhill Performing Arts Center presents a Holiday Concert on Thursday, December 4, at 7:30 PM at the Touhill Performing Arts Center on the University of Missouri at St. Louis campus. "Come Join the University Community Chorus, directed by John Smith, the University Orchestra, directed by Dr. Jim Richards, the Arianna String Quartet, and guest choirs, presenting a selection of music for the holiday season." For more information: touhill.org.

The Washington University Symphony presents a free concert on Monday, December 1, at 7:30 p.m. The program will include music by Debussy and Bizet. The performance takes place at the 560 Music Center, 560 Trinity in University City, MO. For more information: music.wustl.edu.

The 442s

Washington University's Danforth University Chamber Music Series presents The 442s in concert on Tuesday, December 2, at 7:30 p.m. "What happens when you combine two outstanding members of the world-class St. Louis Symphony with two of the city's finest jazz musicians from the Erin Bode Group? You get The 442's, an exciting new acoustic instrumental quartet named for the modern standard tuning of 442 Hz! Brought together by the innovative and inspired compositions of Adam Maness, who also plays guitar, accordion, melodica and glockenspiel in the group, The 442's features Shawn Weil on violin, Bjorn Ranheim on cello and Sydney Rodway on bass. This unique collaboration combines outstanding musicianship, group singing, inventive improvisation, whistle solos and special guest appearances by famed jazz vocalist, Erin Bode. Exploring the boundaries of jazz, classical, folk and rock music, their music can move you to the edge of your seat or comfort you like a lullaby, all within the same set." The concert takes place at the Danforth University Center, 1 Brookings Drive on the Washington University campus. For more information: music.wustl.edu.

The Washington University Department of Music presents a student recital on featuring organist Ethan Schueler on Tuesday, December 2, at 8 p.m. The program includes music by Chopin, Vaughan Williams, Schumann and Beethoven. The performance takes place at Graham Chapel on the Washington University campus. For more information: music.wustl.edu.

The Washington University Department of Music presents a Guitar Gala, featuring students in the university guitar program, on Thursday, December 4, at 8 p.m. The program includes music by Bach, Fernando Sor, and Hindemeth. The performance takes place at Graham Chapel on the Washington University campus. For more information: music.wustl.edu.

The Washington University Department of Music presents the Washington University Flute Choir, Community Flute Choir, and the Clayton High School Flute Choir in a program of works for large flute ensemble. The concert takes place on Sunday, December 7, at 8 p.m. at the 560 Music Center, 560 Trinity in University City, MO. For more information: For more information: music.wustl.edu.